SPARSAR: un sistema automatico di analisi (e

lettura) della poesia

Rodolfo Delmonte Department of Language Studies and Comparative Cultures &

Department of Computer Science Ca’ Foscari University of Venice

Ca’ Bembo – Dorsoduro 1075 - 30123 VENEZIA Email:delmont@unive.it

Website: http//project.cgm.unive.it sparsar.wordpress.com

Overview

• Poesia e computer: un connubio strategico • SPARSAR fa alcune analisi • I sonetti di Shakespeare • L’analisi poetica: rime e metrica • Alcune difficoltà specifiche ai sonetti • Demo del recitatore

Output di SPARSAR

• General Description Map • General statistics

• Phonetic Relational Views • Vowels, Consonants, Voiced/Unvoiced

• Poetic Relational Views • Rhyme; Metrics; Phonetic length

• Semantic Relational Views • Grammatical Relations; Anaphoric and

Metaphoric Relations

General Description

» GRADED EVALUATION• Poetic Rhetoric Devices • Metrical Length • Semantic Density • Phonetic Density Distribution • Deep Conceptual Index • Rhyming Scheme Comparison

I sonetti in numeri• Total No. of Tokens 18283 • Total No. of Types 3085 • Type/Token Ratio 16.87% • No. Hapax Legomena 1724 • No. Rare Words 2441 • Rare Words are the union of all Hapax,

Trilegomena, Dislegomena and Hapax Legomena. • Hapax Legomena or Unique words cover 55.58% of

Types, and Rare Words cover 79.12%.

Exploring Shakespeare's Sonnets with SPARSAR: http://www.hrpub.org/journals/article_info.php?aid=3215

preso da Transposing ecc.

TRANSPOSING MEANING INTO IMMANENCE: THE POETRY OF FRANCIS WEBBhttp://www.rivistadistudiitaliani.it/articolo.php?id=1709

Mean 16,35

preso da Transposing ecc.

TRANSPOSING MEANING INTO IMMANENCE: THE POETRY OF FRANCIS WEBBhttp://www.rivistadistudiitaliani.it/articolo.php?id=1709

La relazione suono-significato

Exploring Shakespeare's Sonnets with SPARSAR: http://www.hrpub.org/journals/article_info.php?aid=3215

Sound-Meaning Relation

• If we consider the whole set of negative polarity sonnets compared to the sonnets with high peaks in Back/High vowels the percentage of agreement goes up to 89.74% of all sonnets

• if we compare Obstruents with Back/High sounds with come up with 45/50 that is 90% accuracy

Sound-Meaning Relation: Unvoiced

• Unvoiced consonants, in our hypothesis, should intersect strongly with Negatively marked sonnets and Obstruent consonant sounds.

• Intersection with Obstruents is 36 over 54 that is 66.67%. Intersection with back/high vowels is 37 over 54, 68.52%. Coming now to intersection with Negative Polarity sonnets, only 27 over 54 match, i.e. 50%. However, if we consider only highest peak sonnets, 10 over 18 are found, that is 55.56%.

• All intersections with Positive Polarity sonnets are very bad

Il Sonetto Shakespeariano - schema di rima e metrica

• ABAB-CDCD-EFEF-GG • Cioè rime alternate - tutti i sonetti ad

esclusione del 99 (15 versi a rime incatenate) + rima baciata e del 126 che ha 12 versi

• Tre quartine di deca/endecasillabi più un distico finale ad esclusione del 145 (piedi tetrametri)

• Il pentametro giambico viene garantito dalla presenza delle contrazioni

Le contrazioni e la metrica

• Vengono filtrate dall’analisi morfologica • Non sono prevedibili e devono essere

analizzate singolarmente • Non hanno un unico modo per ricostruire

la base • Richiedono il recupero del lemma

essenziale all’analisi sintattica e semantica

Le contrazioni e la metrica

• ’s, ‘d, ’n, ‘st, ’t, (putt’st) • ‘rous • ‘fore, ‘gainst, ’tis, ‘twixt, ‘greeing, • o’er, ne’er, bett’ring, whate’er,

sland’ring, whoe’er, • o’ercharg’d • Ne ho contate 821 • 255 sono ’s e 167 sono ‘d

Contrazioni non Elisioni• To side this title is impanelled - ^ - ^ - ^ - ^ - ^ • A quest of thoughts, all tenants to the heart - ^ - ^ - ^ - ^ - ^ • And by their verdict is determined - ^ - ^ - ^ - ^ - ^ • The clear eye's moiety, and the dear heart's part. - ^ - ^ - ^ - ^ - ^

45

the o:theR two, sl@Ight E:R, @n p6Rgin f@IR,

@R bo:th with the:, hwE:ReveR @I ab@Ide,

the f6Rst mI thought, the o:theR m@I dIs@IRe,

the:se present absent with swe:t mo:sIon sl@Ide.

f@R hwen the:se quickeR elements @R go:ne,

in tendeR embass@I @v lGve t@ the:,

mI l@Ife be:in mE:de @v fo:R, with two alo:ne,

sinks d@Uwn t@ death, oppressd with melanchle:.

until l@Ifes composisIon be: rIcu:Rd,

bI tho:se swift messengeRs rIt6Rnd fr@m the:,

who e:n b@t n@Uw cGme back agen assyu:Rd,

@v th@I fE:R health, rIc@Untin it t@ me:.

this to:ld, @I j@Iy, b@t then no: longeR glad,

@ send th@m back agen @n strE:ght gro:w sad.

46

mIn @I @nd heaRt @Re at a moRtal wAR,

h@Uw t@ div@Ide the conquIst of thI s@Ight,

mIn @I, mI heaRt thI pict@Rs s@Ight would baR,

mI heaRt, mIn @I the fre:dom of that r@Ight,

mI heaRt d@th ple:d th@t th@U in him d@st l@I,

a closet neveR pi:Rcd with crystal @Iz,

b@t the dIfendant dGth that ple: dIn@Iy,

@n sEys in him thI fE:R appi:Rance l@Iz.

t@ c@Ide this t@Itle is impanIllId

a quest @v thoughts, A:ll tenants to the heaRt,

@n b@I th@R v6Rdict is dIt6RminId

the cli:R @Iz m@It@I, and the di:R heaRts paRt.

as thGs, mIn @Iz due is thI @UtwaRd paRt,

@n m@I heaRts r@Ight, thI inwaRd lGve @v heaRt.

Schema di Rima e Violazioni

• Ci sono perlomeno 100 violazioni dello schema di rima

• in realtà nascondono il modo di pronuncia dell’Early Modern English ancora instabile

• Ma come pronunciavano le parole che costituiscono una violazione??

• Il suggerimento di David Crystal e OP http://originalpronunciation.com/ “where is the evidence?” rhyming conventions…

ENGLISH RHYMES• Identical Rhyme - pair/pear • Perfect Masculine - rhyme/sublime • Perfect Feminine - picky/tricky • Perfect Dactylic - gravity/depravity • Semirhyme - end/bending • Syllabic Rhyme - wing/caring • Consonant Slant Rhyme - years/yours • Vowel Slant Rhyme - eyes/light • Pararhyme - tell/tall/tail • Syllabic 2 Rhyme - restless/westward • Eye Rhyme - cough/bough ; daughter/laughter • Forced Rhyme - one/thumb • Structural Rhyme - fend/last

Sono Classi o Eccezioni lessicali?

• Crystal prima suggerisce fenomeni fonologici raggruppabili per classi di suoni

• Differenze Vocali, Differenze Accentuali, Differenze Consonantiche

• Poi lamenta il fatto che come avviene anche oggi, in passato (forse) le parole potevano pronunciarsi anche in maniera diversa, per motivi arbitrari o semplicemente la rima

• Porta come prova la English Grammar scritta da Ben Jonson nel ‘600

David Crystal, Sounding Out Shakespeare: Sonnet Rhymes in Original Pronunciation, 2009

Phonemes and Arpabet

ARPABET - VOWELS/DIPHTONGS• HIGH + BACK

• short IH bit/win/big • long IY beet/she/bee • long UW boot/food/you • short UH book/could/should

• MIDDLE • reduced AX about/alone • short EH bet/red/men • long ER pear/her/bird/hurt • long AO caught/fall/off/frost

• LOW • long AE bat/at/fast • long AA father/cot • short AH cut/but/sun • short OH hot/law

• DIPHTHONGS • EY bait/eight • AY bite/my/why • OW boat/show/coat • AW now/how/ • OY boy/toy • IA clear • EA tear/downstair/careful • UA actual/assured/

•SEMIVOWELS • w wet • y yet

All Violations and their Vowels

SONETTO 1 From fairest creatures we desire increase, That thereby beauty's rose might never die, But as the riper should by time decease, His tender heir might bear his memory: ….. Thou that art now the world's fresh ornament, And only herald to the gaudy spring, Within thine own bud buriest thy content, And tender churl mak'st waste in niggarding:

SONETTO 10

O change thy thought, that I may change my mind, Shall hate be fairer lodged than gentle love? Be as thy presence is gracious and kind, Or to thy self at least kind-hearted prove,

SONETTO 12 When lofty trees I see barren of leaves, Which erst from heat did canopy the herd And summer's green all girded up in sheaves Borne on the bier with white and bristly beard:

SONETTO 94

They that have power to hurt and will do none, That do not do the thing they most do show, Who, moving others, are themselves as stone, Unmoved, cold, and to temptation slow, ….. The summer’s flower is to the summer sweet, Though to itself it only live and die, But if that flower with base infection meet, The basest weed outbraves his dignity: ……

SONETTO 145

…… Straight in her heart did mercy come, Chiding that tongue that ever sweet Was used in giving gentle doom, And taught it thus anew to greet: 'I hate' she alter'd with an end, That follow'd it as gentle day Doth follow night, who like a fiend From heaven to hell is flown away; ……

Varianti indotte dalle violazioni alla struttura delle rime

• Algoritmo per trovare in maniera automatica tutte le violazioni • Per ogni sonetto

• Per ogni strofa • Ad esclusione del distico finale • Controlla le coppie alternate

• Se sono in rima • Esci

• Altrimenti scrivi violazione su file • Ripeti

• Esci • Esci

• Raccogli le varianti in un lessico in cui registri la forma fonetica della parola della seconda rima nella coppia. Da questa ricavi la sillaba tonica che costituisce la violazione e va modificata sulla base della tonica della prima

Algoritmo Varianti EME nella struttura di rime del sonetto

• Scorri la lista delle parole fine-verso • Parola corrente contenuta nel lessico varianti? • Controlla la coppia di rime cercando il verso

successivo +1 nella lista • Cerca nel lessico la parola in coppia

• Se la parola ha una sillaba tonica uguale a quella prevista come variante della sillaba tonica della parola corrente: MODIFICA la seconda parola della coppia ed eliminala dalla lista

• Altrimenti skip, e MODIFICA la parola corrente

Parola con variante consonantica o accentuale

• shks(despised,d_ih2_s_p_ay1_s_t,ay1,ay1) • shks(dignity,d_ih2_g_n_ah_t_iy1,iy1,ay1). • shks(gravity,g_r_ae2_v_ah_t_iy1,iy1,ay1). • shks(history,hh_ih2_s_t_er_iy1,iy1,ay1). • shks(injuries,ih2_n_jh_er_iy1_z,iy1,iy1). • shks(jealousy,jh_eh2_l_ah_s_iy1,iy1,ay1). • shks(jollity,jh_aa2_l_t_iy1,iy1,ay1). • shks(majesty,m_ae2_jh_ah_s_t_iy1,iy1,ay1). • shks(memory,m_eh2_m_er_iy1,iy1,ay1). • shks(nothing,n_ah1_t_ih_ng,ah1,ow1).

Parole con doppia variante non conservativa

• shks(moan,m_ow1_n,ow1,aa1). • shks(moan,m_ow1_n,ow1,ao1). • shks(gone,g_ao1_n,ao1,aa1). • shks(gone,g_ao1_n,ao1,ow1). • shks(gone,g_ao1_n,ao1,ao1).

Sonetti 20 e 66Volto di donna, dipinto da natura, hai tu, amato/amata del mio cuore; nobile cuore di donna, che non sa i molli mutamenti falsi di donna;

e ha occhi più splendenti, meno ammiccanti e falsi:

che indorano ogni oggetto con lo sguardo; uomo per forma, ogni forma in sé controlla, e ruba gli occhi agli uomini e l’anima a ogni

donna egli sconvolge.

Come donna tu fosti un dì creato, ma natura, nel farti, fu stregata e, a te aggiungendo, di te mi derubò, con un di più che a me non serve a nulla.

Ma se per gioia di donna ti protese, a me il tuo amor, e a loro il tuo tesoro.

A woman's face with nature's own hand painted, Hast thou, the master mistress of my passion, A woman's gentle heart but not acquainted With shifting change as is false women's fashion,

An eye more bright than theirs, less false in rolling: Gilding the object whereupon it gazeth, A man in hue all hues in his controlling, Which steals men's eyes and women's souls amazeth.

And for a woman wert thou first created, Till nature as she wrought thee fell a-doting, And by addition me of thee defeated, By adding one thing to my purpose nothing.

But since she pricked thee out for women's pleasure, Mine be thy love and thy love's use their treasure.

Sonetto 66Stanco di tutto ciò, imploro quieta morte: vedere il merito nascere mendico, e l’indigente nulla d’orpelli agghindato, e la fede più pura misera, spergiurata,

e l’onore dorato a indegni attribuito, e casta virtù da infami commerciata, e la vera perfezione a torto diffamata, e la forza da un potere zoppo menomata,

e il talento dall’autorità zittito, e la follia (finto dottor) frenar l’acume, e la pura onestà fatta passar per stolta, e il bene schiavo del male generale.

Stanco di tutto ciò, da ciò vorrei partirmi, ma se morissi lascerei solo il mio amore.

Tired with all these for restful death I cry, As to behold desert a beggar born, And needy nothing trimmed in jollity, And purest faith unhappily forsworn,

And gilded honour shamefully misplaced, And maiden virtue rudely strumpeted, And right perfection wrongfully disgraced, And strength by limping sway disabled

And art made tongue-tied by authority, And folly (doctor-like) controlling skill, And simple truth miscalled simplicity, And captive good attending captain ill.

Tired with all these, from these would I be gone, Save that to die, I leave my love alone.

TTS e voci

• SpeakIt by iSpeech di Google • Nuance • Le voci si possono modificare a pagamento usando il

linguaggio SSML • Ci sono demo online che però accettano testi molto

piccoli • Apple • Le voci nuove (2013) non permettono di modificare

l’intonazione, solo speaking rate e volume • Le voci vecchie hanno qualità inferiore ma

permettono di modificare tre parametri

Struttura logica-argomentativi del sonetto shakespeariano

• La struttura logico-argomentativa del sonetto raccoglie le prime due strofe in un’ottava, dove è svolta la prima parte dell’argomento, e la fa seguire da una quartina, che introduce un ragionamento solitamente oppositivo.

• Il distico finale raccoglie quasi sempre i significati contrastanti presentati nelle prime due parti, riconciliandoli o mostrandone a volte l’inconciliabilità.

SINTASSI E INTONAZIONE Sonnet 20A woman's face with nature's own hand painted, Hast thou, the master mistress of my passion, A woman's gentle heart but not acquainted With shifting change as is false women's fashion,

An eye more bright than theirs, less false in rolling: Gilding the object whereupon it gazeth, A man in hue all hues in his controlling, Which steals men's eyes and women's souls amazeth. //// And for a woman wert thou first created, Till nature as she wrought thee // fell a-doting, And by addition me of thee defeated, By adding one thing to my purpose nothing.

But since she pricked thee out for women's pleasure, Mine be thy love and thy love's use their treasure.

SINTASSI e INTONAZIONE Sonnet 66

Tired with all these for restful death I cry, As to behold desert a beggar born, And needy nothing trimmed in jollity, And purest faith unhappily forsworn,

And gilded honour shamefully misplaced, And maiden virtue rudely strumpeted, And right perfection wrongfully disgraced, And strength by limping sway disabled

And art made tongue-tied by authority, And folly (doctor-like) controlling skill, And simple truth miscalled simplicity, And captive good attending captain ill.

Tired with all these, from these would I be gone, Save that to die, I leave my love alone.

Domande??

Grazie